Pop Video’s carry common conventions. These have developed as a result of thousands being made over many years, and characteristics have been repeated which have developed in to the norm, to form these conventions;
· The explicit and unashamed promotion of the artist’s “image” (aesthetic/generic/ideological) as a specific product with a brand identity, ready for mass consumption. This basically means the marketing of the artists as products, and exploiting particular traits such as; looks, sexual magnetism, youth, glamorousness and rebellious.
· The artist is almost always included within the video
· A great use of shot types, camera angles and movement.
· Many shots. High Ratio. Much more shots are filmed than actually make it into the end product after editing
· Repetition of reoccurring thematic elements and generically specific iconography (one element often being dominant and providing the skeletal structure for the promo)
· The videos possibly use a narrative structure, they tell a story.
· The videos possibly use a performance element, the artist performing the song.
· The flexibility to disregard Realism. The video/narrative does not have to reflect reality. Discontinuity editing often used.
· Shots are usually cut tightly to the beat of the track. The shot will change in synchrony with the beat.
· Use of special effects such as; lighting, animation, CGI, and in-camera effects
· A carefully selected Mise en Scene appropriate to the content and tone of the track. Anything seen within the frame is fitting to the mood and lyrics of the song
· High Impact Instantly. The video has to be engaging throughout to capture the audience’s attention no matter when they begin watching. Because competition is so fierce.
In my idea I have included the majority of these conventions, and hopefully this will be reflected in the final product, so there fore I am trying to imitate them as opposed to subverting them. I am doing so because I believe there is a reason why these have become conventions; it is because it is what the audience responds best to and subsequently, sells the records.
I pitched my treatment for ‘Labyrinth’ to Luke, and his responses were mixed; both critical and supportive. He suggested the actual physical use of a ‘Labyrinth’ would be an onerous task, especially to try and recreate one so I now have to try and find a location that would be fitting. He also made suggestions in relation to the counting down clock image; he suggested that the idea I had of using a traditional digital red clock was unimaginative.
